In Shaviro (2010), Steven Shaviro proposes a theoretical framework to analyze the changes of cinema in the digital age. This week’s screening of “The Big Short” is a film about the 2008 financial crisis. It uses direct and indirect narrative techniques to break down the fourth wall and explain finance in a colloquial way. These are just some of the characteristics of the post-cinematic era that Shaviro describes. He argues that the combination of digital technology and the neoliberal relationship economy has led to a fundamental change in the way lived experiences are produced and represented (Shaviro, 2010).

Chaviro paints the post-cinematic influences in four dimensions, or “charts”. Different aspects of the contemporary social sphere are addressed: “controlling society”, “financial flows”, “media ecology” and “play space”.

In the movie The Big Short, we can also see the embodiment of these concepts:

“Controlling Society”: The film criticizes the control of the economy by financial institutions and reveals this social phenomenon by showing the impact of economic control on people’s lives and global markets.

“The Process”: The film “The Big Short” tells the story of a series of financial instruments that led to the collapse of the housing market, including mortgages, backed securities, and expired credit defaults. The film itself also reflects the nature of digital culture, employing non-linear storytelling and mixed media to convey its narrative.

“Ecology”: The film also shows the relevance of the global financial system, recounting that some actions taken by American bankers and investors have far-reaching effects on the global economy, reflecting an ecological network of cause-and-effect relationships.

“The Game”: The film specifically addresses the gamified nature of the financial system. The gamification of trading and investment, as well as systemic gambling in the real estate market, is central to the film’s narrative.

Particularly classic are the unconventional storytelling techniques used in the film. For example, the use of celebrities to explain the basic concepts of finance is a very novel narrative method for the audience. As mentioned by Shaviro (2010), post-film works urge us to reflect on the boundary between reality and fiction by examining the characteristics of new media technology.

In summary, The Big Short is a good example of understanding the concept of Shavero’s post-film influence. The film not only introduces the audience to a global financial crisis, but also uses direct and indirect storytelling techniques to break through traditional cinematic forms such as the Fourth Wall. What’s more, film, as a cultural product, is more and more breaking with tradition, which can make us pay more and more attention to the changes of contemporary society and build personal emotional differences.

Shaviro, S. (2010) Post-Cinematic Affect. Zero Books.

By YiWang 33789183